Zack Meyer spoke the first words of the first Unrehearsed Shakespeare show in the midwest, Bard in the Barn’s Winter’s Tale.
Q: You’ve been doing Unrehearsed longer than anyone. Has it helped shape you as an actor?
ZACK: Greatly. It makes me aware of the text’s power and calls me out when I’m not using it. It’s one thing for a Shakespearen character to ask a question to the audience as a throw away part of his soliloquy. It requires a completely different energy for a Shakespearean character to ask a question to the audience for the goal of actually getting a vocal response, especially if you’re trying to get them on your side. If you are playing a villain, how do you sway the audience to your side in real time if they’re booing you at the start of your monologue? By not being allowed to improv or paraphrase, the actor must turn the tide of the (sometimes drunken) room with only the given text and his persuasiveness. You are allowed no shortcuts or back doors. It is you, your scroll, and the audience. These are the most aggressive acting exercises that I have ever done and it gets more fun each time I do it.
Also, the technique requires you to listen and adapt with your scene partners at such an intense level. Being that aware of your surroundings and what your partner is saying greatly heightens your senses.
Q: You’ve seen a lot of Unrehearsers come and go, and come back again. Have you noticed any changes in style or approach over time? Are there differences by region or venue?
ZACK: I haven’t seen too many differences by region so much as I do by ensemble. The old WIU ensemble had a specific style fairly different to the now Chicago company even though many members spent time in both groups. I think the transition from big open venues at WIU to small bars in Chicago caused a significant style change within the remaining performers. Before we had to yell and be extremely specific and precise with our physicality to clarify our text. Now, with the the audience indoors and right next to us, we have more vocal and physical freedom to create something more dynamic. With this drastic environment change and new performers added to our ranks, we formed a new, stronger performance style.
Q: You started directing last year with our collaboration with Blunt Objects, and more recently with Midsummer Night’s Dream. How does directing compare to performance?
ZACK: They’re both very fun and informative in their own ways. When I perform, I feel like I’m playing a game with the other actors. We move and adapt with each other but we probably don’t know what the other is going to do to us further down the scene. It’s very in the moment and needs to be cooperative. When I direct, I feel like a mad scientist. I want to give all the ingredients to the actors about the show and their characters to create this madness but I also get to weigh on what not to tell them. I get to withhold information about what another character is going to do to them in scene and (assuming the actors had never seen or read the play) create amazing organic moments in a show that’s been around for 400+ years.
Q: You play a lot of romantic leads, but you’ve had your fair share of clowns as well. Is there a character-type you prefer? Does your preparation differ depending on who you’re playing?
ZACK: I love playing clown characters. Nothing is off limits and everyone can be a target of your jests.
My preparation isn’t too different from character to character. I mostly focus on the musicality of the text to separate the ideas and turns of the argument to pinpoint which parts to physicalize to tell a clean story.
Q: You’ve done Unrehearsed inside a barn, outside a barn, in conventional theaters, on a pirate ship, under a tiny bandshell, in bars, and everywhere else in between. Do you have a preference of venue?
ZACK: I love doing shows outside. My first experiences with performing Shakespeare were in parks and gazebos. It gives you space to do big sword fights and allows the audience to bring picnics and stretch out. With that said, I feel UnRehearsed works best in the most intimate of settings you can get without stepping on people. I greatly enjoy performing in bars in Chicago. The audience is usually more engaged and vocal when the setting is tighter and they’ve had a couple drinks.
Q: Gotta ask: Favorite role?
ZACK: Favorite role would have to be Benedick in Much Ado. Unrehearsed style performances offer such a fun opportunity to interact with the audience and Benedick is delightfully saucy when stirring up the men vs women debate with everyone in the room. Also it’s always fun having a one upping dialogue with another character like he does with Beatrice. Favorite performance would have to be when I played Dromio of Syracuse under the bandshell in Wisconsin. It was pouring rain and only 4 audience members showed up. We squeezed under a bandshell to escape the rain which created the most intimate setting for an UnRehearsed show to date. We were literally in their laps. It was one of those moments where the feeling of separation between audience and performers evaporated. We were all there equally to enjoy the show that we were equally creating.
You and Zack can create something beautiful together! Come see MacBeth!
Justin’s
3358 N Southport Ave.
7:30pm
Suggested Donation of $5
